[the acoustic of the hall] allows Matthew Rickard’s heroically impressive piano playing
to register with power and attractive sonority – in both works the pair of players
are excellent at negotiating the numerous transitions between sections with perfect
accord and musical conviction. ...
The players here are passionate and impressive advocates of both works. ...
The Bantock [finale] is a rather wonderful Irish folk-inspired romp – not that he
uses pre-existing tunes but rather evokes a complex web of impressions of Irish merry-making
– jigs, reels, moments of maudlin reflection and general hubbub overlap and collide
– its exhilarating stuff played with great aplomb. ...
I would count this sonata [the Bantock] as being one of the finest chamber works
of his that I have heard and so constitutes a major discovery in this its world première
recording. Its success rests on Bantock exploiting the ‘limitation’ of the two instruments
as a way of focusing his mind onto the form and content. ...
This is a well-programmed, finely played and valuable disc – qualities that could
be used to define the English Music Festival itself.
Review of recording by Gramophone
Whether on violin or viola, Marshall-Luck plays with ideal purity over the widest
range, important in both works when high harmonics are involved. Matthew Rickard’s
piano-playing is also impressive, notably in the flamboyant writing in the Bantock.
Review of recording by MusicWeb International
Matthew Rickard is [Rupert Marshall-Luck’s] fine sonata colleague and he expertly
propels the piano writing [of the Holbrooke] which is powerful, strong and highly